Ampex type tape in transparent case. All cassettes are recorded one by one using a Tascam CD – A 500 (TEAC Professional Division) deck.
Individually numbered.
DDA – digital recording, digital mixing, analog mastering.

“Aware of his previous albums, I can say that the present release is a new territory discovered by the author, of landscapes that are shared through sound. A hidden music to ears that we hear only when the voice that surrounds us, is silent.” (Dan Zibarov)

Deocamdată ‎– 21’34” – introductory album – [cassette]
More details in our store…
Debut album released only on cassette. The Mini-Album includes 5 songs that were recorded both on side A and B. This was produced in 1995 by the band’s own label (ATCD).Special Edition (Small Series).

Ampex type tape in transparent case. All cassettes are recorded one by one using a Tascam CD – A 500 (TEAC Professional Division) deck.
Individually numbered.
DDA – digital recording, digital mixing, analog mastering.

The Shins – The Shins Live at Third Man Records
The 8 tracks on this live recording mark Third Man Records´ first ever cut live direct-to-acetate. Live performance on October 6th, 2012.

The Kills – The Kills Live at Third Man Records
These 8 songs were recorded direct-to-acetate on October 10, 2012.

Seasick Steve – Seasick Steve Live at Third Man Records
October 26th, 2012, direct-to-acetate recording.
No edits. No overdubs. Just Seasick Steve in all his glory.

The Melvins – Live at Third Man Records
Recorded Direct-To-Acetate on May 30th, 2013 at Third Man Records in the Blue Room

Mudhoney – Live at Third Man Records
Recorded Direct-To-Acetate on September 26th, 2013 at Third Man Records in the Blue Room

ALLOY ORCHESTRA – Alloy Orchestra Live at Third Man Records
The Alloy Orchestra double Live LP was recorded Direct-To-Acetate October, 12th 2013 in the Third Man Blue Room as the soundtrack to The Man With The Movie Camera Screening.

The Dutchess and the Duke – Live at Third Man Records
In 2015 set direct-to-acetate at Third Man Records setting of the Blue Room.

Ashley Monroe – Live at Third Man Records
In May 2015 Ashley Monroe sang at Third Man Records to record her very own Live at Third Man Records 12″ LP, recorded direct-to-acetate in the Blue Room.

BLITZEN TRAPPER – Blitzen Trapper Live at Third Man Records
Live recording at the Blue Room Stage on March 16, 2016 cut direct-to-acetate on Third Man’s 1955 Scully lathe.

AUTOLUX – Autolux Live at Third Man Records
Captured direct-to-acetate on Third Man Records’ 1955 Scully lathe on March 26th, 2016.

Shabazz Palaces – Shabazz Palaces Live at Third Man Records
2016 live performance and direct-to-acetate recording at the Nashville Blue Room.

In the late 70’s, in the golden era of tape recording, some artists and labels decided to bypass the tape recording process producing albums direct to disc (D2D). Musicians played the whole song set in the studio and that was recorded directly onto a master lacquer disc.

The albums were cut like the ones produced back in the 30’s and 40’s, recorded and cut on 78 rpm records.

Copies were made directly after the resulting studio “on take recording” master. The result was:100% purity, no splicing out errors, raw artist performance.

Some critics complained that there was to much nervous pressure upon the artists, that jazz musicinas didn´t take chances and classical musicinas were just playing notes.

If these results were the most spectacular performances of these artists or if for the benefit of sound accuracy feeling was compromised, this is for you to judge.

Here in the direct-to-disc category we post records that were produced D2D in the 70’s or after 2000…

The last two decades have seen a striking decline in the quality of sound and listening experience. Compressed music, MP3s and streaming, have diminished the quality and flattened the emotion. Marketing gimmicks and convenience now take the place of excellence.

The Distortion of Sound is an eye-opening exposé of the current state of sound starring Linkin Park, Slash, Quincy Jones and more. This documentary will open your ears and inspire you to reach for richer, more soul-stirring musical experiences.

Setting the correct weight on a turntable tonearm is probably the most important adjustment of a record player. To much weight can permanently damage your vinyl records. But to light cartridge tracking is bad too.

Making this adjustment is not very difficult just follow this steps:
1. Balance the tonearm to “zero gravity”
2. Set the scale of the tonearm counterweight to zero
3. Turn the counterweight to manufacturer’s specified tracking weight (downforce) for your cartridge type.

Manufacturer’s specify the carttridge tracking weight as a range of values in grams. Set the downforce to the highest value within that range. A cartridge that is tracking too lightly bounces on the groove wall causing damage to the record groove.

Many analog fans play their gear or make analogue vs digital shootouts on YouTube.

Respect! Some of them are fervent purists.

But…

… they share ON LINE their equipemnt performances and sound quality records or tapes. Inevitably the sound is distributed on digital mediums (formats, compression etc)

Can there be anyother reason other than for design only to post on Youtube a Studer A807 recording on BASF PER 528 tape? Is it worth, even with the best digital converter and uploading to the highest quality?

When buying and selling vinyl, a good understanding of grading is absolutely essential. Unfortunately though, it’s not an exact science; and the inevitable element of subjectivity is often a source of dispute, especially as trading has moved online.

There is, however, a fairly universal grading system in place and a set of commonly held guidelines to help wade through murky waters – as Tom Fisher of near-mint second hand emporium Rat Records details below.

Words: Tom Fisher

Vinyl Grading System

Mint (M) – Absolutely perfect in every way. Never been played and usually sealed.

Near Mint (NM) – The record has been on a shelf between other records. The vinyl looks glossy and clearly has only been played a few times. There are no marks on the vinyl and the whole package is complete.

Excellent (E) – Same but I’d tolerate very light marks where the vinyl has been in and out of the inner sleeve a few times, or tiny signs of use generally.

Very Good Plus (VG+) – A few further faults are acceptable, but nothing that really compromises the record visually or audibly. A little rub, light inaudible marks, a little background crackle.

Very Good (VG) – It’s seen a bit of life, but is still usable. Light pops and clicks, an edge split, light visible scratches. You can still listen to it and enjoy looking at it, but it is visually and audibly USED.

Good (G) – To be honest you’re making trouble for yourself here, as Good means Bad. I’d only be selling something really desirable in this condition, with a bargain price and a full, no holds barred description to match.

Poor (P), Fair (F) Attempting to listen will be a disturbing experience. Expect major noise issues, skipping or repeating. The record itself is cracked, badly warped and has deep scratches. The cover is also approaching death.

There’s currently a bit of a dichotomy between the Record Collector gradings and those on Discogs, around ‘Excellent’.

Discogs (and Goldmine) don’t use Excellent, they jump from VG+ to Near Mint. Record Collector has no ‘Near Mint’. If you read their descriptions, ‘Excellent’ is a little less good than ‘Near Mint’.

There’s currently a bit of a dichotomy between the Record Collector gradings and those on Discogs, around ‘Excellent’.

Discogs (and Goldmine) don’t use Excellent, they jump from VG+ to Near Mint. Record Collector has no ‘Near Mint’. If you read their descriptions, ‘Excellent’ is a little less good than ‘Near Mint’.

Grading When Selling

You’ll need a large, flat table, with a strong overhead light, ideally daylight, or lights with daylight replacement bulbs. A big magnifying glass. A record deck set up. A cup of coffee, glass of red or a dram and some peace.

Remember you are grading the sleeve (and any bits and pieces), and then the vinyl as two separate entities.

Unless I had something sealed I’d avoid ‘Mint’. You’re asking for a return or a complaint. I’m wary about ‘Near Mint’ on Discogs. It better be good or I’m inclined to say VG+. On eBay I’m happy to say ‘Excellent’ if it is. Either way I add a line of description to my listing below the grading.

Have a look at the sleeve from various angles. Front, back, corners, edges, laminate. Look for damage, wear, splits, creases, bends, dirt. You can wipe a sleeve with a clean, damp cotton cloth, and a clean soft white eraser will help on ringwear and grime on a light coloured sleeve. It may even get off some writing in ballpoint.

Next, does it have the original inner, inserts or anything else it needs to be complete? What is their condition?

Take the record out of the sleeve completely, thumb on the edge, fingers on the label. Have a look from various angles. Form a general impression, is it lovely and glossy or has it lived a bit? Any serious damage?

If you have a record cleaning machine like us, this would be the time to use it. Either way, spin it on a turntable and look from the edge to check for warps.

Have a look at the label, any writing or marks? Check exactly what you have here using the catalogue number, matrix numbers in the runout etc.

Now have a really good look at the vinyl, use your big magnifying glass on any damaged areas. Form your opinion about the condition.

Put the record back on the turntable, clean off the dust with an antistat brush or similar and put the needle through the intro before the first track, a few tracks here and there, a couple of gaps between tracks and especially any faults or damage you’ve identified. You want it loud or use some decent but undynamic headphones. If this is a really expensive record I’d just listen to the whole thing whilst grading other records, and make little notes about faults for the description.

Now you’ve done all this you can clarify your first impressions. I would add that faults can be cumulative, a rub here, a mark there can pull down the grade as much as one glaring piece of damage.

Grading When Buying

Ok, so now you’re on the frontline and you don’t have a mobile lab with you. You’re in a jumble sale, at a boot fair or a street market. If you’re lucky you’re riffing through the new in stock in Rat Records on a Saturday.

If time is not on your side, get a general impression of the seller and their stock as a whole. First impressions count – is everything a bit ‘used’ looking? It’s probably a bit bashed then.

Glance at the sleeve, front, back, edges and corners.

Take the record right out of the sleeve. Look at it from a few angles in the best light you can get. Quick check for a warp.

Are the inner sleeve and inserts you were expecting there?

In this situation I generally only use ‘Excellent’, ‘Very Good’ and ‘Good’. In my head. I can refine this further when I’ve got it home. I’m grading for a price negotiation….

If you have a bit more time, apart from the examination above I tend to up the psychological profiling a bit.

When I’m invited into an immaculate house with cream carpets and asked to remove my shoes I’m already getting a good feeling about the condition of the record collection. It’s also helpful to know if the records belong to person selling them to you (and not their mate or dead dad). If so, then ask where they got them from, did they generally buy new or used, how were they kept…. Again, I like to hear about the records being someone’s pride and joy: they always used a Linn Sondek, no-one else was allowed to touch them and so on. All these things are pointing to the condition being strong so you can hope that the grading you see on the spot with a quick examination will hold up once you get them back to your grading lair.

Alternatively if I’m on my knees in a dark, dusty and damp garage (or on one occasion, boat) and the records generally look VG, they probably won’t once you get them home. Get that drink and start to go over them.

Finally, try to divorce yourself from that fact that you really want this record and are willing it to be ‘Near Mint’. Keep some perspective. It’s only a record. How much sweeter would it be if you got a better copy, for less, later, by being a little patient.

It’s no mystery that vinyl is back in a big way. But for all the talk of a revival, very few people have ever been able to see how the things are actually made.

As the UK’s original pressing plant, we receive requests practically daily from people keen to visit and see the process for themselves. While we can’t possibly invite everyone to the factory floor to see it first hand, we can give you an up-close-and personal look at how records are pressed at The Vinyl Factory, following the process from start to finish in just 60 seconds.

From the metal work and galvanic processes that grow the stampers from which the records are pressed, to the iconic EMI presses that have produced some of the most important records in music history over the last fifty years, we’ve condensed the birth of a vinyl record into just one minute, an intimate snapshot of the craft behind one of the most intricate and complex processes in music.

I’m sick of static on records! In this episode I go shopping for a Zerostat anti-static gun (which I’ve been eyeing for months) plus some record accessories. Thanks to London Drugs for teaming up with me for this video. Links below.

Phil Spector: Back to Mono
Back to Mono (1958–1969) is a box set four-disc compilation of the recorded work of record producer Phil Spector, during the decade of the 1960s, released in 1991 by ABKCO as #7118-2.

Back to Mono surveys recordings featuring and immediately leading up to the Wall of Sound, Spector’s famed production trademark.

Tracklist
– The Teddy Bears To Know Him Is To Love Him
– Ray Peterson Corrine, Corrina
– Ben E. King Spanish Harlem
– Curtis Lee Pretty Little Angel Eyes
– Gene Pitney Every Breath I Take
– The Paris Sisters I Love How You Love Me
– Curtis Lee Under The Moon Of Love
– The Crystals There’s No Other Like My Baby
– The Crystals Uptown
– The Crystals He Hit Me (It Felt Like A Kiss)
– The Crystals He’s A Rebel
– Bob B. Soxx And The Blue Jeans Zip-A-Dee-Doo-Dah
– The Alley Cats Puddin’ N’ Tain
– The Crystals He’s Sure The Boy I Love
– Bob B. Soxx And The Blue Jeans Why Do Lovers Break Each Others Hearts
– Darlene Love (Today I Met) The Boy I’m Gonna Marry
– The Crystals Da Doo Ron Ron
– The Crystals Heartbreaker
– Veronica Why Don’t They Let Us Fall In Love
– Darlene Love Chapel Of Love
– Bob B. Soxx And The Blue Jeans Not Too Young To Get Married
– Darlene Love Wait Til My Bobby Gets Home
– The Crystals All Grown Up
– The Ronettes Be My Baby
– The Crystals Then He Kissed Me
– Darlene Love A Fine, Fine Boy
– The Ronettes Baby, I Love You
– The Ronettes I Wonder
– The Crystals Girls Can Tell
– The Crystals Little Boy
– The Treasures Hold Me Tight
– The Ronettes (The Best Part Of) Breakin’ Up
– The Ronettes Soldier Baby Of Mine
– Darlene Love Strange Love
– Darlene Love Stumble And Fall
– The Ronettes When I Saw You
– Veronica So Young
– The Ronettes Do I Love You?
– The Ronettes Keep On Dancing
– The Ronettes You, Baby
– The Ronettes Woman In Love (With You)
– The Ronettes Walking In The Rain
– The Righteous Brothers You’ve Lost That Lovin’ Feelin’
– The Ronettes Born To Be Together
– The Righteous Brothers Just Once In My Life
– The Righteous Brothers Unchained Melody
– The Ronettes Is This What I Get For Loving You?
– Darlene Love Long Way To Be Happy
– The Righteous Brothers (I Love You) For Sentimental Reasons
– The Righteous Brothers Ebb Tide
– The Modern Folk Quartet This Could Be The Night
– The Ronettes Paradise
– Ike & Tina Turner River Deep, Mountain High
– Ike & Tina Turner I’ll Never Need More Than This
– Ike & Tina Turner A Love Like Yours (Don’t Come Knockin’ Everyday)
– Ike & Tina Turner Save The Last Dance For Me
– The Ronettes I Wish I Never Saw The Sunshine
– The Ronettes You Came, You Saw, You Conquered
– Sonny Charles And The Checkmates Ltd. Black Pearl
– The Checkmates Ltd. Love Is All I Have To Give
– Darlene Love White Christmas
– The Ronettes Frosty The Snowman
– Bob B. Soxx And The Blue Jeans The Bells Of St. Mary
– The Crystals Santa Claus Is Coming To Town
– The Ronettes Sleigh Ride
– Darlene Love Marshmallow World
– The Ronettes I Saw Momma Kissing Santa Claus
– The Crystals Rudolph The Red-Nosed Reindeer
– Darlene Love Winter Wonderland
– The Crystals Parade Of The Wooden Soldiers
– Darlene Love Christmas (Baby Please Come Home)
– Bob B. Soxx And The Blue Jeans Here Comes Santa Claus
– Phil Spector And Artists Silent Nightcassette, vinyl, records, cassette culture, hiss, groove, tape hiss, groove noise, cassette, hissandgroove, hiss and groove